Opera in Four ActsBased on Shakespeare's Drama

(1919)

Officers, soldiers, attendants, etc.
The scene is in Alexandria and vicinity, 30 B.C.

1. Overture.

Act One.

[The curtain slowly rises. The palm room in Cleopatra's Palace in Alexandria, opening in the rear onto an oriental garden which is separated from the palm room only by massive Egyptian pillars and a stairway (extending the entire width of the stage), decorated by a huge sphinx on each side. On the left, Indovino, offering sacrifices, is gradually enveloped in clouds of incense arising from the statue of Isis, before whom priestesses, attired in white robes, worship in silent pantomime.]

[In the background are seen marching Antony's soldiers, with spoils from a victorious battle. Enter Antony with his generals, right, accompanied by Cleopatra and her court. Re-enter Indovino and priestesses, left, with sacrifices.]

[Indovino, worshipping before the huge statues of the Egyptian deities, throws the sacred seeds into the fire which is burning before the statue of Isis. Large clouds of incense arise from the statue, enveloping Isis and Indovino. All, awe-stricken, bow in silent worship. Indovino, with mysterious gestures, prophesies Antony's fate. While the incense continues to rise from the sacred fire, the temple is growing gradually dark; the statue of Isis and the person of Indovino mysteriously standing out from the background in the red light of the sacred fire.]

[ Cleopatra's court is growing merry. Antonio drinks heavily, to drown his melancholia; Cleopatra is filling his cup and caressing him, while his generals flirt with Cleopatra's ladies. Both Antonio and Cleopatra drink heavily, and laugh; the laughter is taken up by the court and the soldiers. The revelry gradually grows into orgies; Antonio and his soldiers giving themselves up completely to sensuousness; Cleopatra and her ladies are gradually carried away by the orgies, and Bacchus reigns supreme, throughout this scene]

[At the climax of the orgies is heard the bugle call from Octavius' camp, and the drums of his marching soldiers horrify the revellers to sudden silence. Soldiers and Courtiers enter. Awe-stricken, Antonio stares at the confused courtiers.]

[At the climax of the orgies, intoxicated and unable to stand on their feet, some attempt to dance, but drop to the floor. General laughter. Attendants throw open the draperies in the rear, exposing an oriental garden, with a fountain in the center. Enter the Eunuchs, dancing, made up for Pans (dressed in furs and skins).]

4. The Eunuch's Dance.

[As the music ends, some of the more skilled Eunochs [sic] whirl and dance, while others play pipes; then they run off to the right.]

5. Dance of the Shadows.

[Twilight gradually spreads over the garden in the background, and danceurs [sic] in violet-coloured gowns and veils shaped in the likeness of violets slowly dance (gliding) around the fountain. ... The twilight gradually changes to darkness and the danceurs slowly disperse.]

6. Midnight.

7. Demon's Dance.

[Enter dancing demons in dark red costumes, gliding mysteriously in flaming light (reflected on them from the wings behind the scenes.) Their numbers are gradually increased. ... At this point, the demons dance grows into a furious whirl, increasing in ferocity to the end of the movement. Demons exeunt, gradually. ]

8. Skeletons' Dance.

[Enter danceur première, alone, in jet black tights, the front and back of which is painted in white to resemble a skeleton. On the darkened stage only the white outlines of the skeleton are visible. ... At this point, the dancer is joined by another one similarly made up; the duet should be danced in very high leaps. ...Enter a group of skeletons, dancing around the two principal dancers, and playing with castanets the rhythm indicated. ]

9. Dance of the Furies.

[The skeletons are joined by the Furies, in flame colored robes, flying in the air, their heads covered by masks so designed as to let the red light of electric bulbs hidden within the masks flash through the openings for the eyes, nose, and mouth (teeth). By alternately pressing and releasing the button controlling the flash-lights, each dancer is to flash the light through his mask at irregular intervals throughout this dance. Note: at the end, all lights are suddenly extinguished, making it possible for all the dancers to disappear. ]

10. Gladiator's Dance.

[The darkened stage is lighted again. Enter the first group of gladiators, armed with swords and shields, saluting Antony by raising their swords. First group of gladiators clashes, performing duels and sham-battles for the entertainment of Cleopatra's court. The first group of gladiators exchanges positions and prepares for another clash. The defeated ones give their swords to the victors, and kneeling before Antony and Cleopatra, depart. The second group of gladiators enters to clash with the victors. They pay homage to Antony & Cleopatra by raising their swords. Both groups take their positions and, on the signal given by Antony, they clash. ... The conquered gladiators, kneeling under the feet of their conquerors, at the sign of pardon from Antony, depart. The victors raise their swords in mute salute to Antony & Cleopatra, remaining in this position to the end.]

End of Act One.

Act Two.

[The desert. Antony's camp near Alexandria. On the left, Antony's tent (large and practicable). Small tents in the background. Further in the rear view of the Mediterranean Sea with Alexandria harbour. Moonless night, illuminated only by the stars.

The lonely guard, Ero, paces slowly in the rear, armed with a Roman sword and shield.]

12. Notturno D'Amore

[The moon disappears in the upper left corner of the setting above Antony's tent. The dawn. The stars gradually fade, the campfire goes out, and the sun rises (on the right), casting a purple veil over the camp. ]

[Trumpets. The royal chariot is brought forward by four or six horses; and at this point Antonio mounts the chariot, surrounded by his generals. Antonio draws his sword. Cleopatra and her ladies shower flowers upon Antonio as he and his soldiers depart. ... As the soldiers' salute is dying away in the distance, Cleopatra is sending her farewell kiss after Antonio. ...Cleopatra, waving her veil, follows the departed soldiers with her eyes. ]

End of Act Two.

Act Three:

14. La Tempesta.

[The curtain slowly rises. The Alexandria harbour is in ruins, from which smoke is rising. Darkness. Only now and then an occasional
lightning (indicated in the score at proper moments), illuminates the stage. In the rear are wrecked ships. In the background is the bay with the city in the distance. At the left is the distant tower of Cleopatra's monument. ...Enter Antony (right), exhausted. The clouds gradually disperse.]

[Antonio hands his sword to Ero, and tearing his own garment, offers his chest for the stroke.
Ero accepts the sword and kisses it.]

ANTONIO: Addio.

ERO: Mio duce.

[Ero, kneeling, returns the sword to Antonio. Antonio takes back the sword solemnly, and turning away from the audience, with the last look towards his defeated army, stabs himself. Ero kneels by him.]

ERO: Mio caro signore.

ANTONIO: Oh, non anche morto?

ERO: Guardie! Ol&agrave!

ANTONIO: Terminate che cominciai male!

[Enter Antony's soldiers.]

CORO DI SOLDATI: L'astro &egrave tramontato.

ANTONIO: Quegli che mi ama mi dia l'ultimo colpo.

ERO: Non io.

CORO: Nè io. Oimè, sventura. Oimè, oim&egrave!

[Ero and the soldiers help Antony. As if dreaming, Antonio raises his arm and listens to the music.]

[Antony is borne off on his shield by Ero and the soldiers towards Cleopatra's monument (left), while the setting sun is flooding in its scarlet rays the ruins of Alexandria.

Curtain.]

End of Act Three.

Act Four

[Interior of Cleopatra's monument, illuminated by a torch. In the centre, a throne, between two bolted windows. On the left an oriental divan, covered with skins and furs. Carminana plays upon the harp. The curtain slowly rises after she starts to sing.]

GUARDIE: L'astro è tramontato. Antonio! Appassita è la ghirlanda di guerra. [The soldiers kneel before his body , raising their swords in solemn salute; they then rise. Cleopatra dismisses them all. Cleopatra returns to antonio in solemn awe. She closes Antony's eyes, places the helmet on his head, and the shield on his chest. She kisses Antony solemnly, kneeling by him. Then enter Carmiana with a basket of figs and flowers. ]

CLEOPATRA: Dammi la mia veste; cingimi la corona, Provo un ardente desiderio di abbandonare la vita. [Attired in her royal gown, Cleopata collapses on the steps by her throne. ]Tutto fini per me. [Carmiana offers her a cup of wine.]Il nettare d'Egitto non addolcira più le mie labbra...[She ascends the throne.] Mi par d'udire la voce di Antonio...Che mi richiami. Mio sposo, ti seguo. [As if drawn by some mysterious power, Cleopatra returns to Antony's corpse and places flowers on and all around it. The light of the torch grows fainter and fainter. At the sound of the midnight bell, Cleopatra and Carmiana shudder in horror. Wind blows through the open window into the tomb. Cleopatra ascends her throne and silently commands Carmiana to bring to her the basket of figs. In it, Carmiana perceives the asps, with a cry. Cleopatra accepts the basket and dismisses Carmiana. Cleopatra takes up an asp, and places it to her bosom.] Vieni, rettile amicida.

CARMIANA: Apritevi, dense nubi, e scioglietevi in pioggia; Ond'ro possa gridar che i numi stessi piangono![Weeps at Cleopatra's feet. Cleopatra, with a gesture, commands to depart. Exit Carmiana. Cleopatra, dying, collapses on her throne. The clouds disperse, and the stars are visible through the window. Cleopatra awakes, her eyes seeking Antony's. Her life ebbing away, she drags herself to Antony, straining the last remnants of her energy to reach him. ]